Sunnett and Lane

3D: Fluxus Box Notes

5/6/2026

The Princess Bride

Thumbelina

I started my process off with mind-mapping what sorts of objects I could put in the box and how I could warp them to hint the viewer to the disturbing nature of my topic. This went hand in hand with coming up with an interior that organized the items in a way that I enjoyed.

The next part of my process was focused around the objects themselves and how to expand the materiality of them. I initially intended to use air dry clay for most of them, but realized that the prospect was actually quite limiting. I forced myself to expand beyond that, and for that I am forever grateful.

Of all the other things I did, the last one I want to note was the decoration of the box's exterior. I wanted it to be beautiful and inviting, but still relevant. The hardest part was composing the painting, which challenged me semiotically and keeping it "visually consistent" with the rest of the box, and the process of decorating the golden additions. It was hard to find the balance between ornate, florid, girlish, and too little.

3D: Fluxus Box Artist Statement

5/6/2026

In this work, I wanted to visually depict the polarizing dichotomy of how pedophilia and grooming have incorporated themselves into the world as a fantasy rather than a disgusting reality. My intention in introducing the viewer to my work with a ornate, painterly expression of innocence before shocking them with a visceral, semiotically powerful interior is to catch them off guard. I choose to play into themes of fairytales, girlhood, and body horror in ways that blend together so that the viewer is constantly disgusted and fascinated at the same time. In terms of materials, I feel that the multitude of paper elements and string contrast excellently with the metal, glass, and air dry clay portions, actively merging yet divulging the "maturity" of the materials.

3D: Gregor's Room Reflection Statement

5/6/2026

Introduction

The three sculptures visually communicate the melancholic and alienating atmosphere of the primary setting of Franz Kafka's infamous story, the Metamorphosis.

Explaining with more Detail

While exploring the materials to build the sculptures, I wanted to focus on encapsulating the ornate, beautifully designed furniture of the time period in order (because) to warp it to visually express the grief and tragic aura of the narrative.

I decided to include the wall, but exclude the door to represent how Gregor was no longer a part of the same "dimensional reality," as his family, meaning he could only exist with the wall. He will never go through the door again.

I felt the work was not producing the results I wanted, so I had to reorient my focus to balancing weight and being realistic in what I achieved. I also had to use a copious amount of patience. In a way, it pushed me to my limits, but it also helped me improve.

Conclude

I want to keep exploring color in the way I did for this piece. The lack of control over the colors in the final annoyed me at first, but I discovered that the way they visually came together in the end was wonderful. For once, lack of control pushed me to a greater height. I want to expand my color vocabulary.

I want to learn more about construction and how to create things (objects and settings) that are visually beautiful, possible, but also defy reality. It's exciting!

This piece allowed me to explore furniture in a way I never had before. I know that "furniture" doesn't come across as something to explore, but one of my favorite curios as an artist is the spaces we inhabit and the beauty we find in them. I have been obsessed with learning to draw furniture and getting to make it instead was so educational!

The making of this work exposed me to new ideas such as not having as much control over the final outcome than I would like. In the case of this project, it aided me beyond what I could have expected. It was exciting. I want to find new ways to apply this chaotic idea, especially through color and perhaps even composition.